Andrew Lance Dancy
percussion
assisted by
Michael Lasley, percussion
Christina Palermo, percussion
Calandra Riley, percussion
Allison Kokkeler, soprano
Nancy Davis, piano
Sharon Johnson, piano
Graduate Recital
Friday, April 27, 2007
7:30 pm
Recital Hall, School of Music
Program
The Alabados Song (2001) Paul Bissell
(b. 1966)
Concertino for Four Percussion (1997/2006) David R. Gillingham
(b. 1947)
Intermission
love songs (2006) John Thrower
from the ballet ‘Book of Dreams’ (b. 1951)
When Angels will be free
Forever
You know
I’ll always be waiting for you
Remember this
El Sol del Sur (1996) Tobin Stokes
Part I (b. 1966)
Part II
Part III
In partial fulfillment of the degree requirements for the
Doctor of Musical Arts in Performance
_______
The hall is equipped with a listening assistance system.
Patrons needing such assistance should contact an usher in the lobby.
Program Notes
The title, The Alabados Song, stems from a fading tradition of Hispanic/Catholic communities in
the southwest United States. As families and entire villages moved in the early 1900s from
Mexico and other South American countries into the United States, they created communities in
America not serviced by a formal church or clergy due to their geographical isolation. For
religious events these groups had to improvise their own ceremonies, including the ceremony of
last rites for the dying. The group’s elder males would gather at bedside and recited from the
Book of the Alabados, an ancient text with Spanish origins once used to deliver news to remote
villages. The book’s prose was an odd mix of Catholic imagery, violent war stories, and political
gossip. The town elders would improvise melodies in a chanting manner over the bedside of the
dying, using the book’s text in place of a formal last rites ceremony.
The composition utilizes this idea as a backdrop for a fictitious musical story. The piece does not
follow the literary action verbatim, but uses this story as a catalyst for the composition itself.
There are two narrators in this version: an old woman and the voice of the spirit of death. The
narrative of the composition follows:
Spirits enter a rural village to take the matriarch of a family away. They call her to get
her to go willingly, but her thoughts of the present state are strong and she has too
much fight left in her. She won’t go as they ask. The spirits entice her with dance and
reminders that her other loved ones have already gone into the beyond. She follows
the spirits en route to heaven only to hear the voices of the chanting elders over her
body. The wily old woman accommodates the spirits, playing and dancing with them,
but as the spirits try to lead her away forever, she suddenly pulls herself back to
reality. The spirits remind the woman that it is her time to die and slowly pull her
towards them. In the end, tired and resigned from their calling, she leaves with the
spirits for the other world.
The Alabados Song is not a concerto per se, but a vehicle for solo marimba and tape (or
orchestra, wind ensemble, percussion ensemble) that employs each genre’s instrumentation to
allow the melodic and harmonic ideas emanating from the marimba to be enhanced and
presented in an artistically diverse way. The melodic material is typically kept to a single thought
at any time, thus not allowing for multiple themes to be performed at once. The various
orchestrations (and the original tape sounds) are tied very closely to that of the solo instrument.
The version for marimba and tape was completed in February 2001 and premiered by the
composer on March 15, 2001 in Wolfe Recital Hall at Del Mar College in Corpus Christi, Texas.
--PB
Dr. Paul Bissell (b. 1966) is currently the assistant professor of music technology at Del Mar
College in Corpus Christi, Texas. Dr. Bissell has written many articles for Percussive Notes, The
Louisiana Musician, and The Transoniq Hacker in both percussion and music technology related
fields. He has also performed with the Austin Symphony, Shreveport Symphony, The Florida
Orchestra and the Joeffrey Ballet among many others. He is featured as a performer on compact
discs as diverse as Eric Johnson's Ah Via Musicom, Karl Korte's Extensions: A Retrospective of
Electro-Acoustic Music and the Spy Kids II movie sound track.
Concertino for Four Percussion was commissioned by the Oklahoma State University Wind
Ensemble and premiered at the 8th International Conference of the World Association for
Symphonic Bands and Ensembles in July 1997. The piano reduction was completed in 2006 by
Nathan Daughtrey. Gillingham writes:
The concertino or “small concerto” seeks to exploit keyboard, membrane, and auxiliary
percussion instruments with the marimba, xylophone, timpani, vibraphone, and bass
drums as the featured instruments assisted by crash cymbals, suspended cymbal,
tam-tam, bells, chimes, triangle, and hi-hat to enhance both the wind symphony and
the solo instruments.
Two thematic motives are used as a point of departure for this work. Both appear in the slow and
mysterious introduction. The first, played by the marimbas, is dramatic, and the second is
haunting and played by vibraphone and bells. The following Allegro is structured similar to a
rondo with recurrences of both themes interspersed by episodic sections. The first theme,
however, is transformed into a very lively arpeggiated tune played by the xylophone and
marimba. The coda is marked by a relentless rhythmic competition of two sets of bass drums
which accompany the primary thematic material as first heard in the slow introduction. The
Concertino for Four Percussion draws to a resounding conclusion when the second haunting
theme is stated dramatically in tour de force by the brass.
--DRG
David Gillingham earned Bachelor and Master Degrees in Instrumental Music Education from
the University of Wisconsin-Oshkosh and the PhD in Music Theory/Composition from Michigan
State University. Dr. Gillingham has an international reputation for the works he has written for
band and percussion. Many of these works are now considered standards in the repertoire. His
commissioning schedule dates well into the first decade of the 21st century. His numerous
awards include the 1981 DeMoulin Award for Concerto for Bass Trombone and Wind Ensemble
and the 1990 International Barlow Competition (Brigham Young University) for Heroes, Lost and
Fallen. Dr. Gillingham's works have been recorded by Klavier, Sony, Summit, and Centaur. His
works are regularly performed by nationally recognized ensembles including the Prague Radio
Orchestra, Cincinnati Conservatory of Music Wind Ensemble, The University of Georgia Bands,
North Texas University Wind Ensemble, Michigan State University Wind Ensemble, University of
Oklahoma Wind Ensemble, Florida State Wind Ensemble, University of Florida (Miami) Wind
Ensemble, University of Illinois Symphonic Band, Indiana University Wind Ensemble, and the
University of Wisconsin Wind Ensemble. Also, nationally known artists, Fred Mills (Canadian
Brass), Randall Hawes (Detroit Symphony), and Charles Vernon (Chicago Symphony Orchestra)
have performed works by Dr. Gillingham. Over sixty of his works for band, choir, percussion,
chamber ensembles, and solo instruments are published by C. Alan, Hal Leonard, Southern
Music, Music for Percussion, Carl Fischer, MMB, T.U.B.A, I.T.A., and Dorn. Dr. Gillingham is
Professor of Music at Central Michigan University and the recipient of an Excellence in Teaching
Award (1990), a Summer Fellowship (1991), a Research Professorship (1995), and recently, the
President’s Research Investment Fund grant for his co-authorship of a proposal to establish an
International Center for New Music at Central Michigan University. He is a member of ASCAP
and has been receiving the ASCAP Standard Award for Composers of Concert Music since 1996.
love songs is a collection of five songs which are scenes from the story ‘Book of Dreams,’ which
I wrote and hope to do as a ballet. The story tells of a young girl who has lost her fiancé in a car
accident. A moment of terrible anguish, she falls into a deep sleep and awakes in a dream. In
the dream she discovers that there are all these ‘beings’ who are trying to help her to understand
that she should not throw away her life because of the tragedy she is going through. In the first
song, ‘When Angels will be free,’ the girl meets the Angel of Life, who tries to comfort her by
telling her that all will be well if she just listens to the inner call, or voice, that will always be with
her. The second song, ‘Forever,’ deals with a memory of the girl’s love and the pain of loss when
a relationship ends—one that perhaps shouldn’t have. ‘You know,’ the third song, is actually the
words of one of those beings in her dream. It is the attribute ‘Wisdom’ who appears to her to try
to give her the facts about life and death, and inform her of the consequences of her actions. In
the fourth song, the girl meets her fiancé (in the dream, of course) who tells her that he ‘will
always be waiting’ for her. In the final song, the girl’s fiancé tells her ‘come what may, remember
this.’
The songs here are for a classical soprano, but a singer who can appreciate the phrasing and
mannerisms of jazz and popular music. In essence, these songs are simple in form, as little or no
development takes place; for indeed, they are meant to be very direct and accessible to a broader
public—no strings attached. In essence, such music might even be heard on MTV, and that was
exactly the goal of the compositional exercise. Perhaps one thing differentiates this music from
popular music and that is the level of difficulty for the soprano and indeed at times the two
marimbas. Not in any way to say that popular music is not virtuose, but I think it is safe to say
that no popular singer, unless they have a solid opera background, could sing all of these songs.
They are simply too demanding—in range, in rhythm, and in technicality. But again, that is the
fusion of styles I was endeavoring to compose. I call this music classic-fusion. It is a mixture of
popular styles, yet all wrapped in the garments of classical music such as virtuosity, depth, and
intention. love songs was composed for and dedicated to marimbists Bogdan Bacanu and
Momoko Kamiya.
--JT
When Angels will be free
When I look into the distance I see angels;
waiting silently as if within a trance;
for the moment when you put down your protection;
for the day when you will take another chance.
And I know the pain is more than you can bare now;
there’s a reason for it all, what can it be?
Just remember who you are and where you’re go’in;
for the day will come when angels will be free.
Refrain:
Don’t be afraid to fall, you know I’ll hold you.
Just hear the inner call, you know I care.
Your star is shining bright, so let it guide you.
Don’t be afraid to love; live your life now.
Ah, when angels will be free….
Refrain
What you are inside is all that really matters;
and the rest is just a game, to some degree
So put on your brightest smile, and live forever;
for the day will come when angels will be free.
Forever
I’ve been thinkin’ of you, and feelin’ so blue like this—painful bliss.
That’s how I know, the spirit of your kiss, can change all of this, so what is the answer?
When the night-time turns to dawn, I’m feelin’ that somethin’ is really gone.
Why does this stay so long? As if the moon had never, ever shone,
and that’s when I know this love is forever.
Forever, forever.
You know
You know that some things come so easy, and some were never meant to be.
It seems that time is on your side. So let it go and let it be.
You know that life is like a river, forever flowing to the sea.
Just ride the wave back to the center. Open your heart and set it free.
You know, you know,
you know, you know, oh…
From London town to Tokyo, you know the system, you know the show.
And stranger things have come your way, the skies are blue, but not today.
You took a loss, you took a hit, potentially, you’re hardly fit.
You’ll have to learn again to give, but more than this, you’ll have to live.
To end it here, you must come back, five hundred years to get on track.
It’s time to simply work it thru’, it’s time to take another view.
And if the darkness seems to linger, or even hope begins to fade.
You know that nothing can defeat you. Your time has come, don’t be afraid.
You know, you know,
you know, you know, oh…
I’ll always be waiting for you
I’ve been waiting, biding my time. Hoping, praying, walking the line.
I’ll be there, and come just what may. I’ll always be waiting for you.
And don’t you worry, I’ll make it right. Ev’ry moment, keep you in sight.
I’ll be there, the price, I will pay. I’ll always be waiting for you.
And I’ll be there by your side, always together.
To hold you tight, like a dream come true forever.
And I’ll be there, until the end of time.
I’ll always be waiting for you.
Remember this
I love you, this is true.
Time will pass and come what may,
remember this, forever,
remember this now
This is real, what you feel.
Trust your heart and take my hand,
remember this, forever,
remember this now.
John Thrower has studied composition in Toronto with John Weinzweig and Gustav Ciamaga.
He has studied clarinet with the best teachers of Canada, has played in different symphony
orchestras, has studied conducting and was the youngest conductor of the University of Toronto.
In 1979 he won the 1st and 2nd prize at the CBC Radio Competition for composition. In the early
80´s Thrower was a “shooting star” in the contemporary music scene in Canada, having concerts
with major composers such as John Cage, Luciano Berio and others. Nevertheless he noticed
that contemporary music became estranged from the audience. It was not comprehensible for
most people. Meanwhile he left Canada and went to Europe.
The music of John Thrower is universal because it is influenced by different styles: classic, film,
jazz, minimal, ethnic, contemporary, even popular music. Every composition has its very own
character, depending on the intention; however his style is unmistakable. All of his compositions
are virtuose and clear in structure, the music touches the heart directly without being trivial, and
you always can feel great intensity and energy within.
El Sol del Sur (The Sun of the South) is for two pianos and two percussionists performing mainly
on marimbas. The rhythmic motifs are derived from and inspired by traditional Latin American
rhythms, mostly from Brazil and Argentina. In each of the three movements, there are melodic
elements presented which are passed around to different instruments, ranges, and harmonies. In
fact, the patterns introduced by all instruments are combined in many different forms. Constantly
evolving combinations of “Latin” and “Western” harmonies, united with strong, varying rhythmic
patterns and continuous texture changes help to create a work which hopefully keeps the listener
alert and wondering what will come next. The slow movement is meant to carry these same
qualities in a more sustained, beautiful setting.
There are a few techniques offered to expand on the available sounds and textures. For
example, the marimba players use the wooden, or rattan, shafts of their mallets in part of the final
movement. In another instance, a traditional Brazilian instrument called a tambourim, which is a
small hand-held drum with a single membrane (head), is played directly into the piano while the
pianist holds the damper pedal down. These techniques do not detract from the music but rather
add to its dimensions.
The parts are rather challenging. One percussionist is forever changing instruments, while the
other must perform an intricate passage to be executed on both marimba and drum at the same
time. The pianists must learn rhythmic patterns that are most likely quite unfamiliar to a
classically trained musician. They must be able to handle them well enough to add a traditional
“feel” beyond that which the written music can explain. Indeed, for a good performance, the
music requires the whole quartet to explore how these rhythmic and harmonic figures work
together, both on and off the written score. El Sol del Sur was commissioned by pianists Lark
Popov and George Vona.
--TS
Tobin Stokes was born in 1966 in North Vancouver, B.C. His childhood on the Canadian West
Coast was filled with music - choirs, piano, and percussion. He first studied piano with Lillian
Dickson, then later at the Victoria Conservatory of Music. He received a degree in music from the
University of Victoria in percussion, with a secondary focus in computer music. He has been
composing full time since university, regularly receiving commissions for choirs and other
ensembles. His first opera, "The Vinedressers" premiered in 2002. His music appears on
numerous CDs, and has premiered in Hiroshima, Venezuela, Prague, the Netherlands, and
Canada, and his choral music is now published in the U.S. and Canada. Stokes is a prolific
composer of music for television, with numerous scores for documentaries for the NFB, national
networks, and channels such as Discovery and Vision TV.
The UNCG School of Music has been recognized for years as one of the elite
music institutions in the United States. Fully accredited by the National
Association of Schools of Music since 1938, the School offers the only
comprehensive music program from undergraduate through doctoral study in
both performance and music education in North Carolina. From a total
population of approximately 16,000 university students, the UNCG School of
Music serves over 600 music majors with a full-time faculty and staff of more than
sixty. As such, the UNCG School of Music ranks among the largest Schools of
Music in the South.
The UNCG School of Music now occupies a new 26-million-dollar music building,
which is among the finest music facilities in the nation. In fact, the new music
building is the second-largest academic building on the UNCG Campus. A large
music library with state-of-the-art playback, study and research facilities houses
all music reference materials. Greatly expanded classroom, studio, practice
room, and rehearsal hall spaces are key components of the new structure. Two
new recital halls, a large computer lab, a psychoacoustics lab, electronic music
labs, and recording studio space are additional features of the new facility. In
addition, an enclosed multi-level parking deck is adjacent to the new music
building to serve students, faculty and concert patrons.
Living in the artistically thriving Greensboro—Winston-Salem—High Point “Triad”
area, students enjoy regular opportunities to attend and perform in concerts
sponsored by such organizations as the Greensboro Symphony Orchestra, the
Greensboro Opera Company, and the Eastern Music Festival. In addition,
UNCG students interact first-hand with some of the world’s major artists who
frequently schedule informal discussions, open rehearsals, and master classes at
UNCG.
Costs of attending public universities in North Carolina, both for in-state and out-of-
state students, represent a truly exceptional value in higher education.
For information regarding music as a major or minor field of study, please write:
Dr. John J. Deal, Dean
UNCG School of Music
P.O. Box 26170
Greensboro, North Carolina 27402-6170
(336) 334-5789
On the Web: www.uncg.edu/mus/
